andreas uebele designed the cover for the new issue of page mageazine.
seeing, recognising, reading – it’s all a puzzle, a game of yes and no, with the allure of ‘maybe’. And it’s a game that can be applied to lettering, too. the urban planning authority want the façade to be decorated in its entirety – all 1,000 square metres of it – with a layer of graphic art, in order to beautify (or disguise) the vast bulk of this industrial building, set beside a public road. so we persuade the client to let us coat his expensive new façade by promising that it will feature his logo (and it’s nearly 100 metres long). the planners aren’t happy, though: according to their regulations, no more than 10% of the façade can be used for advertising purposes. and so we take the company logo and break it up into its component parts, which we arrange loosely and indecipherably enough for the planners to approve – but closely enough that it’s just about legible, still, and so the client is happy, too. for everyone else it’s a giant graphic puzzle – a puzzle they can (maybe) put back together.
from writing to colour
gigantic brushstrokes add colour to the white architecture of the building interior. the writing, by contrast, is human in scale and origin: more than a thousand words have been hand-drawn onto the walls. handwriting is one of the first things to change for people with alzheimer’s. the ability sufferers retain longest is their colour recall. these findings from dementia research underpin the wayfinding system’s formal strategies: colour and writing not only help building users find their way about – they also communicate the research that’s undertaken here. and the process of finding destinations, with its transposition of how the disease progresses, also expresses what this institute and its work are focused on: the patient.
setting the tone
these days academic journals have grown to bulky proportions. but does this have to mean heavyweight design? well, yes, it does, because the layout informs the hasty viewer about the serious, challenging nature of the articles. design here isn’t about glossing over or dumbing down – it’s about added attraction. the form is worthy of the content.
what is beautiful? what is functional? what works and what doesn’t? where does it feel wrong and why? this book is a sketchbook, a project catalogue, a collection of interviews and a volume of essays. it explains and describes with and through pictures. it’s a book for reading and for using, a collection of material and materials. it presents 85 projects along with the materials from which they emerged – interspersed with material by people who’ve accompanied us along the way: kai bierich, joachim blüher, hannes böhringer, matthew carter, andreas cukrowicz, adrian frutiger, durs grünbein, hans hansen, klaus klemp, norbert lammert, jórunn ragnarsdóttir, thomas ruff, karin sander, manfred schmalriede, klaus schmiedek, eva-maria schön, massimo vignelli, hermann zapf and peter zizka.
a new st(uttg)art
urban planning in stuttgart is a misnomer. urban chaos might capture it better. now the people of stuttgart, tired of their city’s mistreatment at the hands of the authorities, have got together and formed an association. it’s called ‘aufbruch stuttgart’ – or roughly, a ‘new start for stuttgart’. fittingly, its logo presents a radical departure from standard reading mode: the two syllables of each word have been split and reconfigured. they can be read from top to bottom or upside down – sending
a clear signal that something has to change.
seek and ye shall find
the building by franz jaud, dating from 1954, presented a challenging context – its atmosphere oppressive, its character forbidding. the archdiocese of munich is converting it into a resource and pastoral centre where many diocesan staff, including the cardinal himself, will work.
now this building is being filled with new things – things that are necessarily different, that are of our times, performing new functions: guiding and leading. these simple, economical additions appear almost incidental. the interventions are sensitive – integrating with the architecture without being overwhelmed by it.
what if a ...
ifa (institut für auslandsbeziehungen), germany’s oldest organisation dedicated to international cultural relations, is celebrating its 100th anniversary. a brand and a key visual were required for the many events, exhibitions, conferences and publications celebrating this landmark year.
the market leader in user experience design has remodelled its head office. the ceilings – at the INTERFACE between the air-con installations and the shivering mortals below – are designed, logically enough, to create a positive user experience. the sound-absorbing foam is – HELLO TECHNOLOGY! – communicative too, telling staff and visitors they’re not just in any old room here, but in a bespoke space, configured for their well-being. in line with the company’s FOCUS, the ceiling speaks a customised CODE, offering viewers a unique GRAPHIC DESIGN experience: the three-dimensional words are formed in a specially designed typeface, one with limited USABILITY maybe, but with all the more identity, for that.
unit live! typography night
andreas uebele speaks at unit live! typography night. the event takes place at december 6th 2017 at the royal geographical society in london. further speakers are tony brook, claudia klat, jonathan nielsen, adrian shaughnessy and the founders of 8vo - mark holt, simon johnston and hamish muir.
we are the city
from car-centric city to people-friendly habitat: the sunday happening on a major traffic artery that slices stuttgart in two is an act of civil disobedience disguised as a delightful demonstration with the renowned high-wire artists of the traber family. we’re on the scene too, because we designed the visual identity for the not-for-profit association »aufbruch stuttgart« (roughly: »a new start for stuttgart«) plus all the posters and flyers, pro bono.
what ist good design?
andreas uebele material in the new issue of page.
read the article:
gastkritik und vortrag von andreas uebele in st. pölten
österreich hat nicht nur große architekten, großartige berge (großglockner) sondern auch großherzige gastgeber wie aidan swanton (nicht im bild), christine schwaiger (rechts außen) und kriso leinfellner (links außen).
wir suchen einen programmierer (web, frontend, ux)
in leitender festanstellung
ihre tätigkeit wäre eigenständige lösungen zu entwickeln. sie sind nicht der erfüllungsgehilfe der designer. wir arbeiten in einem team und bieten einen schönen arbeitsplatz mitten in stuttgart mit brezelpause. sie sollten kenntnisse in html, css, js und php haben und mit folgenden begriffen einigermaßen vertraut sein: kirby cms, bootstrap, jquery, git, sass/less und mysql.
wir freuen uns über ihre bewerbung (email@example.com).
büro uebele under new management and new co-ownership. after 21 years at the helm, andreas uebele (56), founder and proprietor of büro uebele visuelle kommunikation, has handed over management responsibility to carolin himmel (35), who is also the company’s new co-owner. carolin has been with büro uebele for the past nine years and having worked in paris (base design), new york (2x4) and tokyo (hiromura design office) knows the business inside out.
imagine a game of musical chairs with two chairs and two players, no music or rushing around, and no loser. but who took the second chair? who was daring enough and emerged as the new partner in büro uebele?
exhibition at aut from march 3rd to june 3rd 2017.
the exhibition "simply day-to-day" displays around 200 objects, provided by 150 architects, graphic artists, designers, artists and theoreticians. Supplemented by short texts, this phenomenology of the everyday, offers an insight into a world of everyday objects and cultural backgrounds, which extends across the different professional fields.
participation with works from andreas uebele.
we are the type
Perhaps our typographic roof will yet be realized (together with meck architects).
fast eine kunst
ein wort auf einem haus in wien erinnert uns wieder einmal daran, doch bitte ganz entspannt im hier und jetzt zu leben (lokkaisi). es spielt keine rolle, dass die schöne beschriftung nur für das gleeichnamige österreichische presseerzeugnis wirbt (zitat: Mama und Tochter: »Unsere neuen Brüste lieben wir«) – wobei, wäre es nicht schöner: wir lieben unsere neuen brüste? ach egal, schrift im raum lieben wir.
there is beauty in the broken. without the fragile and the courage, risking to create something bad, there is no beauty without destruction.
in the streets of hanoi posters are hanging like newspapers on the wall. there you can read opinions about the city and quotes of goethe, which can be interpreted as comments about hanoi. these posters were made during a workshop with andreas uebele, organized by the goethe institut hanoi.
so muss es sein! glückliche gesichter bei der urkundenvergabe. die zeremonie wurde erstmals an der hochschule düsseldorf vollzogen? nein, gefeiert! mit der hilfe der boy group raoul gottschling und tobias hönow und der jury mit saskia diez und florian lamm und jakob kirch und peter ippolito von ippolitofleitzgroup. wir gestalten identitäten für andere. gestern haben wir auch identität hergestellt, und zwar für unseren fachbereich. kleine persönliche freude: meine ex-tutorin katrin gruszczyk bekommt für ihre von mareike föcking und mir betreute arbeit (manifest xenofeminismus) einen der designpreise der hochschule düsseldorf, den wir bei dieser gelegenheit auch gleich ins leben gerufen haben. eröffnet wurde die veranstaltung mit einem eigens für diesen anlass geschrieben vortrag von dem philosophen prof. hannes böhringer aus berlin.
der spiegel wirft das bild zurück und stößt den betracher vor den kopf. er zwingt ihn, das zu betrachten, was er kennt. der blick geht nicht weiter, man sieht bekanntes. wenn man den standpunkt ändert, wird das bild, das entsteht, ein anderes. das körperliche löst sich auf, wird verrätselt. ein trick, eine optische täuschung, die im raum eine schöne wirkung erzeugt. jetzt sieht man das, was nicht in der blickachse liegt. ein spiegelndes schild ist wie ein parfüm. es überlagert die wahrnehmung und bereichert sie mit einem anderen visuellen eindruck.
a woman and a man. standing calm and still, wearing a knee-length dress and shorts. no specific fashion is discernible. these two figures have fallen out of time. yet they aren’t hermaphrodites – who’ve always missed out when the sexual categories are defined: we can see from the two figures that the man is probably a boy, the woman probably a girl. it’s not just that they’re almost exactly the same height: the female figure’s undeveloped chest, the shorts – which tend to be the preserve of the young – are sympathetic references to the un-sexual. a shared naïveté – or perhaps rather a shared innocence – overlays the stark division of the sexes. the form fulfils its function and reminds us of childhood. the figures aid wayfinding and tell us a tale of rediscovering a lost age.
someone who is looking for the toilet comes to a door. he sees what we might call a humanoid figure. he sees a person. the body descends vertically from broad shoulders, the legs stand parallel with a small gap between them. aha, the viewer says to himself, this is the place for men. yet if the figure has a waist and wears a skirt-like garment it is equally clear – at least in the western world – that we have reached the ladies’ toilet. the fact that this information is understood globally is a tremendous cultural achievement – its importance cannot be overestimated. it is the translation of instructions, place descriptions or complex emotional states into an internationally comprehensible language – basically the invention of an autonomous picture-based language that functions across all national boundaries. together, scientist otto neurath and graphic designer gerd arntz laid the foundations for the international visualisation system we use today, which helps us communicate various important matters quickly and straightforwardly without using writing and words. smileys, emojis and emoticons are another wonderful example of this. here you can see the beauty of gerd arntz’s original drawings: woman, man. smile.
plädoyer für die maßlosigkeit:
mehr ist mehr!
pracht, fülle und ausschweifung!
many designs are for the wastepaper basket. what a pity. but they are a good fertilizer for something new.